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GREAT  ENGRAVERS  :  EDITED  BY  ARTHUR  M.  HIND 


///  A^y///'j 


PORTRAIT  OF  THE  ARTIST  r..^  ...    utispiece  to 

Los  Capriciios.     H.^  L.  1 


BOOKS  OF  REFERENCE 

Gautier,  Theophile,  and  Piot,  E.      Cabinet  de  C Amateur,  I  (1842)  337 
MatheroNj  Laurent.     Goya.      Paris  1858 

Melida,  E.      Los  Desastres  de  la  Guerra.     Arte  en  Espana,  W  (186^)  266 
Carderera,  Valentin.      Francisco  Goya.      Sa  vie,  ses  dessins,  et  ses  eaux- 

fortes.     Gazette  des  Beaux  Arts,  VII  (i860)  215,  XV  ({863)  237 
Yriarte,  Charles.     Goya.     Paris  1867 

;Goya  aquafortiste.     V Art,  IX  (1877)  3»  33?  5 6,  79 

LEFORTjPaul,      Essaid'un  catalogue  raisonne  de  I'oeuvre  grave  et  lithographic 

de  Francisco  Goya.     Gazette  des  Beaux  Jlrts,  XXII  (1867)  191,  382, 

XXIV  86,  169,  385,  XXV  165 

Francisco  Go)'a.     Gazette  des  Beaux  Arts,  2^  per.   XII  (1875)  5^^> 

V    XIII  336^  '  . 

■Francisco    Goya.      Etude    biographique  ,et    critique,    suivie     d'un 


catalogue  raisonne  do  Gan.oeuvr^  al'iivc  t>t*li^ographie.      Paris  187'/ 
IIamerton,  p.  G.     Goya.'c  ^Jie  Portfolio^  X  (i?79)-J^7>  ^3>  99 
ViNAZA,  Conde  de  la.     G9ya,.su<.tipippq,  ju  tidti,  sus;obras.     Madrid  1887. 
Nait,  Antoine  de.     L'e'i  eavl4-|^it-''5'^"<^&  ^^'^^cfs'co'Xjoya.      Les  Caprichos 

gravuret  facsimile  de  M.  Segui  y  Riera.     Paris  1888 
Araujo  Sanchez,  C.     Goya.     Madrid  1895  (from  La  Espa7ia  Moderna) 
RoTHENSTEiN,  W.      Goya  (Artist's  Library,  No.  4). '    London  1900 
Lapond,  Paul.     Goya.      Paris   1902  (from  the   Revue  de  P Art  Anc'ien  et 

Moderne,  V  etc.)  .... 

LoGA,  Valerian   von.      Francisco  de  Goya.      Berlin    1903.      Goya's  Litho- 

graphien   und  seltene    Radierungert.      Berlin    1907.      Goya's    Zeich- 

nungen.     Die  Graphiscken  Kiinste,   1-908,  p.  i 
Vier    lithographische     Einzelblatter    von     Goya.     Jahrbuch   der   kgl.   Pr. 

Kunstsammlungen,  XXVI  (1905)  136 
Lehrs,  Max.      Ein  geschabtes  aquatintblatt  von-  Goya.      Juhrbuch  der  kgl. 

Pr.  Kunstsammlungen,  XXVII  141 

Ein  Steindruck  Goya's.      Ibid.  XXVIII  50 

Bertels,  K.     Goya.     Munich  1907 

HoFMANN,    Julius.      Francisco    de     Goya.      Katalog     seines     gr^phischen 

Werkes.     Vienna  1907 
Oertel,     Richard.     Francisco     de     Goya     (Kunstler-Monographien,     89). 

Bielefeld  and  Leipzig. 1907 
Achiardi,  Pierre  d'.      Les  Dessins  de  Gpy*  au  Musee  du  Prado  a  Madrid. 

3  vols.     Rome  1908 


H6M«tWO«»£-^^""^'*» 


FRANCISCO  GOYA 

GOYA  offers  us  the  strange  combination  of  satirist  and  court 
painter.  The  reign  of  Charles  IV  of  Spain  (1788-1808) 
was,  it  is  true,  a  period  of  moral  license,  analogous  in  its 
reaction  against  the  strictness  of  the  preceding  reign  to  the  time  of 
Charles  II  of  England.  And  in  such  periods  as  these  the  satirist  is 
seldom  silenced,  while  his  immunity  is  insured  by  the  very  power 
that  he  wields,  than  which  no  stronger  blackmail  can  be  imagined. 
But  even  then  the  satirist's  .safety  often  lies  in  his  ingenuity  in 
explaining  away  all  personalities,  and' claiming  the  position  of  critic 
an4  censor,  not  of  persons  but  of  human  nature  in  general.  This 
was  Goya's  attitude,  so  we  owe  him  no  revelations  into.the  rottenness 
of  a  licentious  court  and  the  corruptions  of  the  political  life  of  the 
day.  In  fact,  in  speaking  of  his  own  great  satirical  series,  Los 
Caprichos,  Goya  explicitly  denied  all  intention  of  personalities, 
affirming  that  he  merely  chose  subjects  by  which  the  prejudices, 
hypoctrisies,  and  impostures  consecrated  by  time  might  best  be  stigma- 
tised and  turned  to  ridicule.*  This  is  the  inevitable  disclairner  of  every 
satirist  who  draws  from  his  own  circle.  Nevertheless,  yv^hatever  his 
contemporaries  knew  or  thought,  and  ipany  must  have  felt  the  sting 
of^his  lash,  a  generation  is  enough  to  have  hidden,  and  we  must  for 
the  most  part  be  content  to  lose"*  any  special  application  in  the  more 
universal  truths,  on  which  Goya  has  himself  left  us  a  commentary.f 
It  is  like  sand  in  the  eyes  of  those  who  are  seeking  for  enlightenment. 
Still  we  have  little  basis  for  confidence  in  other  supposed  contem- 
porary manuscripts,  J  in  which  many  famous  personages  of  the  court 
are  branded  as  the  victims  of  Goya's  abuse. 

We  are  kying  perhaps  undue  enTpha^s  on  the  satirical  elements  of 
Goya's  art.  But  it  is  this  side  of  his  work  which  strikes  one  most 
forcibly  in  his  prints,  and  it  is  only  with  these  that  we  are  con- 
cerned. He  was  a  great  deal  more  than  a  satirist.  As  a  paititer  he 
started  his  career  with  large  works,  doing  extensive  frescoes  under  the 
influence  of  Francisco  Bayeu,  Raphael  Mengs,  and  Giovanni  Battista 
Tiepolo,  paintings  of  biblical  subjects,  and  numerous  designs  for 
tapestry.  But  outside  his  nat'ive  country  his  fame  as  a  painter  is  chiefly 
limited  to  portrait,  in  which  he  is  Spain's  greatest  master  since  the 

*  In  an  unpublished^  MS.  prospectus  quoted  by  Carderera,  Gazette  des 
Beaux  Arts,  XV,   240.  t  Once  in  Carderera's  collection  ;  now  in  the 

Prado,  Madrid.     Printed  in  Vinaza,  Goya,  Madrid  1887,  ^^^  '"  ^  French 
paraphrase  in  Lefort's  catalogue.  X  See  Lefort,  and  Vinaza. 

5 


GREAT  ENGRAVERS 

time   of  Velazquez,  if  not  one  of  the   greatest  ma&ters  of  modern 
times. 

Francisco  Goya  y  Lucientes  was  born  of  humble  parents  at 
Fuendetodos  in  1746,  but  Saragossa  was  the  home  of  his  family  at 
least  as  early  as  1749.  Here  he  studied  painting  under  Jos6  Luzan  y 
Martinez,  but  his  chief  inspiration  was  found  after  his  removal  to 
Madrid  in  1766  in  the  work  of  the  Italian  painter  and  etcher  Tiepolo, 
who  was  settled  in  Spain  for  the  last  part  of  his  life.  Goya's  debt  to 
Tiepolo  is  especially  remarkable  in  the  group  of  early  etchings  done 
about  1 778.  There  is  one  in  particular,  the  Blind  Street  Musician  (lv), 
which  shows  this  influence,  not  only  in  the  manner  of  treating  line 
and  light,  but  in  the  whole  triangular  structure  of  the  composition. 
The  subject  itself  corresponds  to  one  of  Goya's  cartoons  for  tapestry 
completed  in  1779,  and  this  fact,  as  well  as  the  similarity  of  the 
manner  of  etching,  places  it  in  the  same  period  as  the  plates  after 
Velazquez,  of  which  several  are  dated  in  1778.  Goya  was  too 
original  to  be  a  success  as  a  reproductive  etcher,  and  his  prints  after 
Velazquez  probably  meant  nothing  more  than  a  temporary  immersion 
in  the  work  of  a  master  whose  influence  no  Spanish  painter  could 
avoid  (see  lix-lxi). 

In  1789,  soon  after  the  accession  of  Charles  IV,  Goya  was  appointed 
Pintor  de  Camara^  and  succeeded  ten  years  later  to  the  position  of  first 
court  painter.  It  was  during  this  period  that  his  great  series  of 
satires,  the  Caprichos^  was  produced.  The  series  as  generally  known 
consists  of  eighty  plates,  including  as  its  frontispiece  the  portrait  of 
Goya  reproduced  at  the  head  o^  the  present  volume.  The  only  date 
attached  to  any  of  the  subjects  is  found  on  an  original  drawing  for 
No.  43  of  the  series,  bearing  the  inscription  Tdioma  univer  \  sal 
dihujado  \  y  gravado  p^  \  F.  de  Goya  \  aHo  1797,  which  seems  to  have 
formed  a  first  idea  for  a  title.  Moreover  Carderera  drew  a  most 
natural  inference  from  an  unpublished  prospectus  written  by  Goya  in 
1797,  that  seventy-two  subjects  were  issued  at  that  date.  It  is  of 
course  possible  that  a  public  issue  did  not  at  that  time  succeed  the 
intention.  In  any  case  no  copy  is  known  which  can  be  collectively 
dated  before  the  edition  of  1803,  which  contained  eighty  plates.  In 
1803,  before  the  edition,  Goya  offered  the  plates  together  with  two 
hundred  and  forty  impressions  of  the  series  to  the  Calcografia  Nacional. 
Perhaps  both  the  delay  and  the  subsequent  presentation  to  the 
Calcografia  were  caused  by  Goya's  feeling  that  his  personal  responsi- 
bility for  somewhat  dangerous  satires  would  thereby  be  lessened. 
Proofs  before  the  numbers  and  titles  printed  on  the  plates  in  the 
6 


FRANCISCO  GOYA 

edition  of  1803  are  of  great  rarity,  and  best  represented  in  the 
Bibliotheque  Nationale,  Paris.  They  have  an  added  interest  from 
the  occasional  difference  in  the  pen-and-ink  inscriptions  from  the 
final  printed  lettering. 

In  1806  another  edition  of  the  Caprichos  is  said  to  have  been  issued 
under  the  direction  of  the  engraver  Rafael  Esteve,  and  if  the  report 
is  correct  the  two  hundred  and  forty  impressions  received  from  Goya 
must  have  been  exhausted  within  the  three  years.  Since  that  time 
there  have  been  three  fresh  editions,  in  1856  (without  the  portrait, 
which  had  been  used  in  the  1855  edition  of  the  Tauromdquia\  1 868, 
and  1892,  all  being  printed  on  a  thin  Japanese  vellum,  while  the 
earlier  issues  were  on  a  stouter  and  more  opaque  paper. 

In  addition  to  the  regular  series  there  are  three  unpublished  plates 
of  Caprichos^  done  for  the  Duchess  of  Alba,  in  the  National  Library, 
Madrid.  Allusion  has  already  been  made  to  Goya's  own  commentary. 
Besides  the  one  mentioned  as  preserved  in  the  Prado,  he  seems  to  have 
left  others,*  but  the  majority  of  those  claimed  for  Goya  are  probably 
later  paraphrases  or  entire  fictions.  We  will  make  a  few  quotations 
from  Lefort's  paraphrase  where  they  touch  our  plates. 

No.  6  (iv)  "Le  monde  est  une  mascarade  :  visage,  costume,  voix, 
tout  est  mensonge.  Tous  veulent  paraitre  ce  qu'ils  ne  sont  pas,  tous 
s'entre-trompent  et  personne  ne  se  connait." 

No.  26  (xii)  "  Si  Ton  veut  que  ces  creatures  a  tete  leg^re 
trouvent  ou  se  caser,  il  n'y  a  rien  de  mieux  a  faire  que  de  leur  mettre 
leur  siege  sur  la  tete."  Lefort  supplements  this  enigmatical  remark  by 
a  quotation  from  his  second  commentary  :  "  Telle  est  a  present  la 
fureur  chez  nos  belles  de  se  decouvrir  la  moitie  du  corps,  qu'elles  ne 
prennent  pas  garde  que  les  polissons  se  moquent  d'elles."  Von  Loga 
supports  this  allusion  to  the  fashion  of  the  time  for  very  short  dresses 
as  well  as  very  low  necks  by  a  reference  to  a  corresponding  drawing 
of  men  with  trousers  for  arms  and  boots  for  ears  (Achiardi,  pi.  clxxx). 

No.  32  (xvi)  "  Et  comment  cela  ?  C'est  que  ce  monde-la  a  ses 
hauts  et  ses  bas,  et  la  vie  qu'elle  menait  ne  la  pouvait  conduire  autre 
part."  This  is  clear  enough,  but  still  leaves  us  in  uncertainty  as  to 
the  exact  interpretation  Goya  would  have  put  on  the  word  sensible  of 
the  inscription. 

No.    53     (xix)    "  Ceci     ressemble    quelque    peu    aux    reunions 

*  E.g.,  a  second  somewhat  more  outspoken  commentary  from  which 
Lefort  makes  occasional  quotation  ;  another,  once  in  the  possession  of 
Charles  Yriarte  (see  his  articles  in  U Art)  ;  and  a  third  (probably  a  later 
paraphrase)  from  the  collection  of  A.  L.  de  Ayala  (quoted  by  Viiiaza). 

7 


GREAT  ENGRAVERS 

acad^miques.  Qui  salt  si  ce  perroquet  ne  parle  pas  medicine  ?  Que 
Ton  n'aille  pas  toutefois  Ten  croire  sur  parole.  II  y  a  tel  m6decin 
qui,  quand  il  parle,  parle  d'or,  et  lorsqu'il  6crit  une  ordonnance  est 
quelque  chose  de  plus  qu'un  Herode.  II  discourt  admirablement 
des  maladies,  mais  ne  les  guerit  pas.  Enfin,  s'il  6baubit  son  malade, 
il  peuple  en  revanche  les  cimetieres  de  cadavres." 

No.  71  (xxiii)  *'Et  si  vous  n'etiez  pas  venus  du  tout,  ce  n'eut 
pas  M  autrement  regrettable,"  an  enlargement  rather  than  an 
explanation  of  the  theme,  which  may  be  that  of  the  loathsome  beings 
that  thrive  in  the  darkness  of  superstition. 

Superstition  and  ecclesiasticism  in  its  worst  forms  seem  to  offer 
a  fairly  frequent  butt  for  his  satire,*  hardly  a  matter  for  wonder  in 
a  country  which  had  suffered  under  the  Inquisition  at  its  worst. 
There  is  a  famous  picture  of  a  Sitting  of  the  Inquisition  in  the  Academy 
of  San  Fernando,  Madrid,  and  an  etching  illustrating  the  same 
subject  is  cited  by  Piot  and  Matheron,  but  no  impression  is  now 
known  to  exist.  The  personalities  given  by  Lefort  are  taken  from 
the  notes  of  a  supposed  contemporary  of  Goya  in  a  copy  of  the  first 
edition  of  the  Caprichos.  We  will  give  a  few  for  what  thev  are 
worth  to  those  interested  in  Spanish  life  about  1800.  Godoy,  Prince 
de  la  Paix,  the  greatest  influence  at  Charles  IV 's  court,  is  said  to  be 
satirised  in  No.  37,  and  again  in  No.  38,  for  the  lengthy  genealogy 
made  to  flatter  him.  Godoy 's  surgeon  Galinsoya  figures  in  No.  40, 
and  his  painter  Carnicero  in  No.  41  (xviii).  No.  55  (xx)  mocks 
at  the  eternal  coquetry  of  the  Comtesse  de  Benavente,  mother  of 
the  Duchess  d'Osuna,  while  Goya's  patroness  and  friend,  the  Duchess 
of  Alba,  is  said  to  aj>pear  in  several  others. 

In  the  Caprichos  and  in  the  majority  of  his  plates  from  this  time 
forward  Goya  uses  a  combination  of  etching  in  line  and  aquatint,  in 
place  of  the  pure  etching  of  his  earlier  work.  Probably  in  1778  he 
did  not  know  of  the  process  of  aquatint,  which  only  came  into  use 
about  1768,  when  the  French  etcher  J.  B.  Le  Prince  claims  to  have 
made  the  discovery.  The  aim  of  the  process  is  to  imitate  surfaces  of 
tone,  like  those  of  a  washed  drawing.  It  is  similar  in  effect  to 
mezzotint,  but  more  transparent  in  its  quality,  like  water  colour  in 
contrast  with  oil.  The  essential  factor  of  the  process  is  etching 
through  a  porous  ground  formed  of  sand  or  some  powdered  resinous 
substance.  The  method  of  work  pursued  by  Le  Prince  was  as  follows  : 

*  E.g.,  according  to  Lefort's  anonymous  contemporary,  Caprichos  No.  70 
represents  Spain  on  the  shoulders  of  Ignorance,  devoting  itself  in  all 
humility  to  fanaticism  and  superstition. 

8 


FRANCISCO  GOYA 

Some  powdered  asphaltum  or  resin  placed  in  a  box  was  blown  into  a 
cloud  with  the  bellows  (or  by  a  fly-wheel  worked  from  without). 
The  plate  being  placed  on  the  floor  of  the  box  and  the  door  closed, 
the  dust  settles  regularly  on  the  surface  of  the  plate,  and  is  afterwards 
fixed  by  the  application  of  heat.  If  the  plate  with  this  porous  covering 
were  placed  in  the  acid  bath,  the  result  would  be  a  granulation  of 
the  surface  which  would  print  in  a  regular  tone  of  more  or  less  open 
grain  according  to  the  kind  and  amount  of  resin  used.  Variations 
of  tone  are  achieved  by  covering  the  ground  with  varnish  to  protect 
it  against  the  acid  where  it  is  to  print  quite  white,  and  then  proceeding 
by  stages,  leaving  uncovered  longest  those  parts  that  are  to  print 
darkest.  A  somewhat  more  delicate  grain  can  be  achieved  by  dis- 
solving resin  in  spirits  of  wine,  spreading  this  solution  over  the  plate, 
and  so  letting  the  dry  grains  settle  as  the  spirit  evaporates.  This 
method  was  not  used  in  Le  Prince's  time,  and  it  is  doubtful  whether 
Goya  knew  it  or  not.  One  of  the  Caprichos,  No  32  (xvi),  shows 
pure  aquatint,  but  in  all  the  other  plates  aquatint  is  treated  as  an  aid 
to  the  etching  in  line,  rather  than  an  essential  factor  in  the  structure 
of  the  figures  or  subject.  But  if  not  structurally  essential  to  his  com- 
positions, the  large  number  of  original  studies  for  his  plates  that  are 
preserved,*  whether  in  red  chalk,  or  pen-and-ink  and  wash,  show  that 
his  compositions  were  conceived  from  the  first  in  light  and  shade. 

Apart  from  the  Caprichos,  Goya's  satirical  work  is  chiefly  contained 
in  the  Proverbios,  a  series  of  eighteen  larger  oblong  plates,  which 
were  probably  done  about  1 810-15,  although  they  were  first  publicly 
issued  in  a  series  in  1864  (by  the  Acadamy  of  S.  Fernando).  The 
few  proofs  that  exist  before  the  addition  of  the  numbers  are  said  to 
have  been  taken  by  the  private  owner  of  the  plates  (whose  name  is 
not  recorded)  in  1850.  Three  plates  of  similar  size  and  character, 
evidently  intended  for  the  Proverbios,  but  not  in  the  published  set, 
are  known  from  impressions  printed  in  "L'Art"  in  1877. 

The  point  of  the  satire  in  these  dreams  {suefios^  or  alucinaciones 
inespUcables  as  they  have  been  called)  is  generally  more  obscure  than 
in  the  Caprichos.  Some  of  them  fall  into  line  with  other  series,  e.g. 
Soldiers  and  the  Phantom  (xxxvi)  with  the  T)esastres  de  la  Guerra^  while 
A  Circus  Queen  (xLiii)  like  the  Tauromaquia  reflects  the  life  of  the 
Ring.  A  fourth  plate  published  by  **  L'Art  "  in  1877,  ^^e  Five  Bulls 
(xxxiv),  ranges  itself  so  definitely  with  the  subject  of  the  Tauromaquia 
that  it  has  been  placed  by  Lefort  and  Hofmann  in  their  catalogues  at 
the  end  of  that  series. 

*   For  reproductions  see  Books  of  Reference,  Achiardi. 

9 


GREAT  ENGRAVERS 

It  is  more  than  probable  that  several  of  the  series,  such  as  the 
People  in  Sacks  (xxxix)  had  some  definite  political  signification,  but 
no  clues  to  their  explanation,  nor  even  any  mystifying  commentaries 
such  as  we  have  for  the  Caprkhos^  are  forthcoming.  Whatever  Goya 
meant  by  the  Flying  Men  (xLii)  matters  little  :  it  is  curiously 
topical  to-day.  Treated  as  pure  composition,  some  of  these  plates  are 
the  most  wonderful  of  Goya's  achievements.  The  Giant  Dancing 
(xxxviii)  is  a  magnificent  apotheosis  of  the  grotesque,  and  most 
mysteriously  impressive  in  the  brilliance  of  its  handling  of  light  and 
shade.  In  its  suggestion  of  Titanic  power  it  has  an  even  greater 
counterpart  in  the  Colossus  (lvi),  one  of  Goya's  separate  plates  which 
stands  quite  apart  from  the  rest  in  its  technical  handling.  Here  tlie 
aqvatint  is  much  deeper  than  usual,  and  the  plate  is  treated  like  a 
mezzotint,  the  lights  being  scraped  out  from  a  dark  foundation. 

Another  of  the  Prouerbios^  the  Company  of  People  on  the  Branch  of 
a  Tree  (xxxvii),  is  almost  Japanese  in  its  purity  of  design.  It  is 
remarkable  again  how  near  Goya  comes  to  the  more  abstract  style  of 
Japanese  and  Chinese  art  in  his  only  two  landscape  etchings,  of  which 
one  is  reproduced  on  plate  Lviii.  They  are  each  only  known  in  a 
single  impression  at  Madrid. 

Our  survey  of  the  more  ifnaginative  part  of  Goya's  work  may  fitly 
close  with  a  quotation  from  Goya's  own  words,  from  the  prospectus 
to  the  Caprichos  as  translated  into  French  in  Valentin  Carderera's 
article :  "Si  imitation  de  la  nature  est  aussi  difficile  qu'elle  est  admirable 
quand  on  r^ussit  a  I'obtenir,  celui-la  meritera  encore  quelque  estime 
qui  s'^loignant  completement  d'elle,  a  dil  exprimer  aux  yeux  des 
formes  ou  des  mouvements  qui  n'ont  existe  jusqu'^  ce  jour  que 
dans  Timagination  ...  La  peinture,  ainsi  que  la  po^sie,  choisit  dans 
I'univers  ce  qu'elle  trouve  de  plus  propres  h.  ses  fins  ;  elle  rassemble 
dans  un  seul  personnage  fantastique  des  circonstances  et  des  caracteres 
que  la  nature  presente  epars  entre  plusieurs  individus,  et  c'est  grace  a 
cette  combinaison  sage  et  ingenieuse  que  I'artiste  acquiert  le  titre 
d'inventeur  et  cesse  d'etre  un  copiste  servile." 

In  the  two  series  that  remain  to  be  mentioned,  the  Desastres  de  la 
Guerra,  and  the  Tauromaquia^  Goya  is  on  more  solid  earth.  The 
T)esastres  are  based  on  the  Napoleonic  campaigns  in  the  Peninsula  from 
the  abdication  of  Charles  IV  in  1808  and  the  subsequent  accession  of 
Joseph  Bonaparte,  to  the  restoration  in  1813  of  Charles's  son  Ferdinand 
VII,  who  had  only  reigned  for  a  few  months  in  1808.  No  doubt 
here  too,  Goya  chiefly  relied  on  his  imagination,  but  various  plates, 
such  as  that  of  the  Woman  firing  the  Cannon^  xlvi  (Maria  Agostina 
10 


FRANCISCO  GOYA 

of  S^ragossa),  have  been  referred  to  definite  incidents.  Nothing  but 
immediate  experience  could  have  given  this  terrible  emphasis  to  the 
horrors  of  war,  in  face  of  which  Callot's  famous  series  are  mere  stage 
play.  Amid  the  multitude  of  ghastly  incidents,  a  plate  such  as  the 
Cup  of  Cold  Water  (li)  comes  as  a  relief  in  the  comparative  absence 
of  revolting  details,  and  in  the  sheer  beauty  and  impressiveness  of  its 
composition.  Aquatint  is  a  much  less  important  factor  in  the 
Desastres  than  in  any  of  the  other  series,  twenty-eight  of  the  eighty- 
two  plates  being  in  pure  etching.  Where  aquatint  is  used,  as  in 
the  plate  just  cited,  it  is  often  a  much  broader  and  more  open  grain 
than  in  the  Caprichos^  or  Tauromaquia,  As  in  the  Caprichos  the  titles 
often  leave  considerable  ambiguity  as  to  the  exact  turn  of  Goya's 
meaning.  For  example  Tampoco  (xlviii)  is  obscure,  and  only  slightly 
less  so  when  considered  in  relation  to  what  proceeds  and  follows  in 
a  progressive  series.  It  might  be  read  "  Even  thus  they  will  not 
yield,"  but  almost  equally  well  "  they  will  not  spare,"  from  the 
point  of  view  not  of  the  dead,  but  of  the  living. 

In  connection  with  these  illustrations  of  the  Peninsular  War,  it  is 
of  interest  at  least  to  English  readers  to  recall  Goya's  portraits  of  the 
Duke  of  Wellington.  A  red  chalk  drawing  in  the  British  Museum,* 
taken  from  the  life,  formed  the  basis  for  the  picture  in  the  collection 
of  the  Duke  of  Leeds,  and  an  unfinished  equestrian  portrait  is  pre- 
served at  Strathfield  Saye.  They  show  the  Duke  in  much  earlier 
life  than  most  of  his  portraits,  before  the  loss  of  some  front  teeth 
which  caused  the  characteristic  sinking  of  the  lips. 

As  in  the  case  of  the  Proverbios  there  was  no  public  issue  of  the 
series  of  Desastres  during  the  artist's  lifetime.  It  is  curious  that 
Goya  should  have  thought  so  little  of  profiting  from  the  sale  of  his 
prints.  The  first  edition  of  1863  issued  by  the  Academy  of  San 
Fernando  (of  which  Goya  had  been  director)  differs  from  the  second 
of  1892,  in  the  change  of  Academia  de  Nobles  Artes  of  the  first  title- 
page  to  Academia  de  Bellas  Artes  of  the  second.  Unfortunately  the 
Calcografia  Nacional  has  continued  to  issue  bad  impressions  from  the 
worn  plates  quite  recently  (1903  and  1906). 

Two  of  the  eighty-two  plates  never  appeared  in  the  published  set 
while  a  sort  of  supplement  is  formed  by  the  Prisoners  (H.  240-242), 
three  plates  of  different  size,  each  only  known  in  a  single  contemporary 
impression  (Madrid).  Lefort  possessed  the  plate  of  one  of  these 
Prisoners^  and  had  impressions  published  in  the  Gazette  des  Beaux 
Arts,  1867. 

*  Reproduced  in  facsimile  by  the  Art  for  Schools  Association. 

II 


GREAT  ENGRAVERS 

The  Tauromdquia  has  probably  suffered  more  than  any  of  the  othtr 
series  from  the  continuation  of  modern  impressions.  They  have 
been  recently  reissued  by  the  Calcografia  Nacional,  after  having 
passed  through  two  French  editions  from  1876,  as  well  as  two  earlier 
Spanish  issues  in  181 5  and  1855.  Goya  must  have  studied  contem- 
porary books  on  the  history  of  bull-fighting  like  that  of  his  friend 
N.  F.  Moratin,  Carta  histojica  sobre  el  ortgen  y  progressos  de  las  fiestas 
de  toros  en  Espafia^  ^111  •>  ^^^  others  by  Antonio  Carnicero  (1790)  and 
Pcpe  Hillos  (1796),  but  his  real  inspiration  was  the  life  and  incidents 
,  that  he  must  himself  have  witnessed  in  the  ring.  Apart  from  the 
'  interest  of  their  presentation  of  the  Spanish  national  sport,  these 
plates  offer  some  of  the  finest  examples  of  Goya's  complete  mastery 
of  light  and  shade,  and  of  space  co.mposition.  The  plate  oi  Martincho 
throwing  a  />«// (xxix)  shows  a  brilliance  of  concentration,  a  command 
of  spacing,  and  a  grasp  of  the  mysterious  power  of  a  veil  of  light  and 
shade  that  places  it  among  the  greatest  triumphs  of  art.  As  pure 
illustrations  of  the  bull-ring,  Goya's  four  lithographs  entitled  Los  Toros 
de  Burdeos  (The  Bulls  of  Bordeaux)  have  an  even  greater  vividness 
(lxiii-iv).  Lithography  as  a  process  of  making  prints  was  only- 
discovered  by  Senefelder  about  1800,  and  Goya's  earliest  dated 
lithographs  belong  to  the  year  18 19,  a  year  after  the  publication  of 
Senefelder's  historic  description  of  the  process  and  his  own  discovery. 
He  only  did  about  twenty  lithographs  in  all,  but  they  are  among  the 
finest  work  that  exists  in  a  process  that  has  been  popular  with  few 
great  artists.  The  Bulls  of  Bordeaux  get  their  name  from  the  place 
of  their  publication  in  1825,  the  subjects  being  based  of  course  not  on 
any  local  bull-fights  but  on  Goya's  memory  or  sketches  of  the  sport 
in  Spain. 

The  latter  part  of  Goya's  life  was  not  one  of  personal  glory.  On 
the  accession  of  Joseph  Bonaparte,  he  did  not  scruple  to  retain  his 
position  at  court  at  the  sacrifice  of  his  loyalty  to  his  king.  On  the 
restoration  he  was  branded  by  Ferdinand  VII  as  worthy  of  the 
garrotte,  but  he  still  adroitly  clung  to  his  place  as  painter  to  the 
court.  It  was  not  until  some  ten  years  later,  in  1824,  that  he  obtained 
the  King's  consent  (or,  it  may  be,  followed  the  King's  advice)  to 
retire  from  Madrid,  spending  the  last  four  years  of  his  life  at 
Bordeaux. 

In  spite  of  his  cynicism  and  apparent  contempt  for  the  ordinary 
codes  of  loyalty  and  honour,  Goya  seems  to  have  been  a  man  of 
a  warm  heart  and  enduring  friendships.  Nevertheless  his  vein  of 
satire  was  entirely  without  the  bonhomie  which  takes  all  evil  taste 
12 


FRANCISCO  GOYA 

from  the  work  of  so  much  of  the  coarsest  of  English  caricature.  In 
the  unflinching  courage  with  which  he  probes  right  to  the  heart  of 
social  rottenness  he  proved  himself  the  true  satirist  battling  with 
abuses,  not  the  mere  social  historian  of  a  degenerate  age.  But  his 
highest  fame  rests  not  on  his  satire,  but  on  the  sheer  power  of  his 
imaginative  faculty,  and  on  the  perfect  command  of  composition, 
whether  by  line,  space,  or  light  and  shade,  by  which  his  genius  was 
seconded. 


LIST  OF   GOYA'S  WORK,  WITH 
REFERENCE    TO    THE    PLATES 


Los  Caprichos.  H.,  L.  i-8o.  A 
series  of  80  etchings,  including 
the  frontispiece  portrait.  72  of 
the  plates  were  produced  between 
1 793- 1 797,  but  there  was  pro- 
bably no  collected  edition  before 
1803  when  the  plates  were 
acquired  by  the  Calcografia 
Naclonal.  Later  editions  1806, 
1856  (without  the  portrait  of 
Goya,  which  had  been  used 
in  1855  ed.  of  the  Tauroma- 
quia),  1868,  and  1892.  The 
editions  from  1856  printed  on 
thin  Japanese  vellum  ;  the  earlier 
editions  on  stouter  and  more 
opaque  paper.  There  are  also 
three  unpublished  plates  of  the 
series.  H.,L.  81-83.  The  follow- 
ing numbers  are  here  reproduced  : 

Francisco  Goya  y  Lucientes,  PIntor. 
Frontispiece.     H.,  L.  i 

El  si  pronuncian  y  la  mano  alargan 
al  primero  que  llega  (They  say 
yes,  and  give  their  hand  to  the 
first  who  offers),  i.  H.,  L.  2 

Que  viene  el  coco  (Here  comes  the 
bogey!)  II.  H.,  L.  3 

Tal  para  qual  (Birds  of  a  feather 
flock  together),  in.  H.,  L.  5 


Nadie    se    conoce    (Nobody    really 

knows  another),   iv.   H.,  L.  6 
Ni   asi    la   distingue  (Even  so  near 

he    doesn't    recognise     her),     v. 

H.,  L.  7 
Que  se  la  llevaron  (And  they  carried 

her  off).  VI.  H.,  L.  8 
El  Amor  y  la    Muerte    (Love   and 

Death),  vii.  II.,  L.  10 
Estan    calientcs     (It    burns),     viii. 

H,L.  13 
Bellos  consejos  (Good  advice),      ix. 

H.,  L.  15 
DIos   la   perdone  :    y  era  su  madre 

(God  forgive  her  :  It  was  her  own 

mother),  x.  H.,  L.  16 
Ya   van    desplumados    (There    they 

go,  all  plucked),  xi.   H.,  L.  20 
Ya  tienen  aslento  (At  last  they  have 

found  a  place),  xii.   H.,  L.  26 
Chiton  !    (Mum's  the  word  !)   xiii. 

H.,  L.  28 
Esto  si  que  es  leer  (That's  what  one 

calls  reading),  xiv.   H.,  L.  29 
Porque    esconderlos  ?    (Why  try  to 

hide  them  ?)  xv.  H.,  L.  30 
Porque    fue    sensible    (Because    she 

was  sensitive),  xvi.   H.,  L,  32 
Brabisimo  !    (Bravo !)    xvii.    H.,  L, 


38 


13 


GREAT  ENGRAVERS 

Ni  mas  ni  menos  (Neither  more 
nor  less),  xviii.  H.,  L.  41 

Que  pico  de  oro  !  (What  golden 
oratory  !)  xix.  H.,  L.  53 

Hasta  la  Muerte  (Till  death),  xx. 
H,  L.  55 

Volavcrunt  (They  have  taken  to 
wing).  XXI.  H.,  L.  61 

Linda  Maestra  !  (Pretty  mistress  !) 
XXII.  H.,  L.  68 

Si  amanece  ;  nos  vamos  (If  the  day 
dawns,  we  go),  xxiil.  H.,  L.  71 

No  te  escarparas  (You  will  not 
escape),  xxiv.  H.,  L.  72 

Nadie  nos  ha  visto  (Nobody  has 
seen  us),  xxv.  H.,  L.  79 

Ya  es  hora  (Now  it  is  time),  xxvi. 
H.,  L.  80 

La  Tauromaquia.  H.,  L.  83-115, 
and  unpublished  plates  116-123. 
Series  of  33  published  plates  issued 
by  Goya  in  a  small  edition  18 15, 
with  title  Treinta  y  tres  estampas 
que  representan  diferentes  suertes  y 
actitudes  del  arte  di  lidiar  los  Toros. 
The  second  edition,  published 
by  the  Calcografia  Nacional  in 
1855  with  the  portrait  of  Goya 
from  the  Caprichos^  under  the 
title,  Colecion  de  las  diferentes 
suertes,  etc.  Third  edition,  Paris 
1876,  with  7  additional  plates 
(La  Tauromachie,  recueil  de  40 
Estampes).  There  was  a  second 
French  edition,  and  also  a  recent 
issue  by  the  Calcografia  Nacional, 
which  recovered theplates through 
the  intervention  of  the  etcher 
Ricardo  de  los  Rios.  The  follow- 
ing numbers  are  here  reproduced  : 

The  populace  cutting  the  bull's 
hamstrings  with  lances  and  other 
weapons,  xxvii.  H.,  L.  94 

14 


Tiie  clever  student  from  Fakes, 
wrapped  in  his  mantle,  plays  with 
the  bull,  xxviii.   H.,  L.  96 

The  famous  Martincho  throws  a 
bull  in  the  Arena  at  Madrid. 
XXIX.   H.,  L.  98 

Martincho's  audacious  act  in  the 
Arena  at  Saragossa.  xxx.  H.,  L. 
100 

The  agility  and  daring  of  Juanito 
Apinani  in  the  Arena  at  Madrid. 
xxxi.  H.,  L.  102 

Burning  darts,  xxxii.  H.,  L.  113 

Two  groups  of  picadors  overthrown 
one  after  the  other  by  the  same 
bull,  xxxiii.  H.,  L.  114 

Five  Bulls  (Pluie  de  Taureaux). 
XXXI V.  IL,  L.  123 

Los  Proverbios.  H.,  L.  i  24-141, 
and  unpublished  plates,  142-144, 
This  series  was  probably  done  for 
the  most  part  between  1810-15, 
but  the  first  collected  edition 
was  issued  by  the  Academy  of 
S.  Fernando  in  1864.  A  small 
number  of  impressions  had  been 
taken  from  the  plates  (before  the 
addition  of  the  numbers)  about 
1850.  Later  editions,  1891  and 
1902.  The  following  numbers 
are  here  reproduced  : 

Puppets  of  men  and  a  dead  ass 
thrown  on  a  blanket  by  six 
women,  xxxv.  H.,  L,  124 

Soldiers  and  the  phantom,  xxxvi. 
H.,  L.  125 

A  company  of  people,  seated  on  the 
branch  of  a  tree,  listening  to  an 
orator,  xxxvii.  H.,  L.  126 

Thegiant  dancing. xxxviii.  H.,L.  127 

Two  groups  of  people  in  sacks. 
xxxix.  H.,  L.  131 

Woman  carried  off  by  a  horse,  xl. 
H..  L.  133 


The  dancers,  xli,  H.,  L.  135 
The  flying  men.  xlii.   H.,  L.  136 
A  Circus  Queen,  xliii.  H.,  L.  143 
Other    laws    for    the   people,    xliv. 

H.,  L.  144 
Los  Desastres  de  la  Guerra.  H.,  L. 
145-224;  and  unpublished  plates 
225-6.  A  series  of  eighty  plates 
etched  at  the  time  of  the  French 
occupation  (about  1810),  but  first 
published  in  1 863  by  the  Academy 
of  S.  Fernando.  Second  edition 
1892  (in  which  Academia  de  Bellas 
Artes  replaces  Academia  de  loobies 
Artes  of  the  title-page  of 
first  edition).  The  Calcografia 
Nacional  has  also  issued  editions 
from  the  worn-out  plates  in 
1903  and  1906.  The  following 
numbers  are  here  reproduced  : 
5.  Y  son  fieras  (And  they  are  like 
wild  beasts).  XLv.    H.,  L.  149 

7.  Que  valor  !     (What    courage  !) 
XLvi.  H.,  L.  I  5  I 

8.  Siempre   sucede    (That  always 
happens).  XLvii.    H.,  L.  152 

10.  Tampoco    (Nor    thus),    xlviii. 

H.,  L.  154 
19.   Ya    no   hay   tiempo   (No   time 

now).  xLix.  H.,  L.  163 
50.  Madreinfeliz (Unhappy mother). 

L.  H.,  L.  194 
59.  De  que  sirve  una  taza?  (What 

good  a  single  cup  ?).  li.  H.,  L.  203 
71.  Contra  el  bien  general  (Against 

the  public  good),  lii.  H.,  L.  215 


FRANCISCO  GOYA 

77.  Que  se  rompe   la  cuerda  (The 

rope  breaks),  liii.  H.,  L.  221 
Miscellaneous    etchings    not    be- 


longing  TO    ANY  series.    H.   227- 

248.  L.  227-229,  246-262 
Blind  man  lifted  on  the  horns  of  a 

bull.  Liv.  H.  231.  L.  247 
The    Blind    Street    Musician,     lv. 

H.  232.  L.  248 
The    Colossus,    lvi.    H.    233.     L. 

249.  Scraped  aquatint 
Man  on  the  Swing,    lyii.   H.  234, 

L.  250 
Landscape  with  a  Waterfall,    lviii. 

H.  244.  L.  260.     Madrid 
Prints  after  Velazquez.  H.  249- 

264.    L.    230-245.     Early    work, 

for  the  most  part  dated  1778 
Las  Meninas  (Velazquezpaintingthe 

portrait  of  the  Infanta  Margarita 

Maria),  lix.  H.  255.  L.  236 
The    Infant     Don     Fernando,     lx. 

H.  257.   I.  238 
Barharossa,  Court  fool  to  Philip  IV. 

Lxi.  H.  260.  L.  241 
Lithographs.  H.  265-284.  L.  263- 

The  reading,  lxii.  H.  270.  L.  267 

The  famous  American  Mariano 
Ceballos.  Lxiii.  H.  277.   L.  272 

This  and  the  following  are  from  a 
series  of  four  lithographs  entitled 
Los  toros  de  Burdeos  (The  Bulls 
of  Bordeaux),  1825 

Bull-fight  with  divided  arena.  Lxiv. 
H.  280.  L.  275 

The  title-page  border  is  from  the  engraved  title  to  an  edition  of  Terence, 
Paris  1642 


15 


I.  LOS  CAPRICHOS,  2.  EL  SI  PRONUNCIAN  Y  LA  MANO 
ALARGAN  AL  PRLMERO  QUE  LLEGA  (They  say  yes,  and  give 
their  hand  to  the  first  who  offers) 


G.  I 


II.  LOS  CAPRICHOS,   3.    QUE  VIENE  EL   COCO     (Here  comes  the 
bogey  !) 


..    c''    c  /     t     "c*  IS  -c  «,««  «  "  c        <.  ' 


III.  LOS  CAPRICHOS,   5.    TAL  PARA  QUAL   (Birds  of  a  feather  flock 
together) 


n      '    c     c 


IV.  LOS   CAPRICHOS,  6.    NADIE  SE  CONOCE  (Nobody  really  knows 
another) 


V.  LOS    CAPRICHOS,    7.     NI    ASI    T.A    DISTINGUE    (Even  so  near 
he  doesn't  recognise  her) 


VI.  LOS  CAPRICHOS,  8.    QUE  SE  LA  LLEVARON  (And  they  carried 
her  off) 


VII.  LOS  CAPRICHOS,   lo.    EL  AMOR  Y  LA  MUERTE  (Love  and 
Death) 


c  •  T  rt 


VIII.  LOS   CAPRICHOS,    13.     ESTAN   CALIENTES   (It  bums) 


c  c     c    '^  o  *"    *>«  S  o       ' 


IX.  LOS  CAPRICHOS,   15.    BELLOS  CONSEJOS  (Good  advice) 


G     2 


X.  LOS    CAPRICHOS,    i6.     DIOS    LA    PERDONE  :       Y    ERA    SU 
MADRE    (God  forgive  lier  :   it  was  her  own  mother) 


XL  LOS  CAPRICHOS,  20.    YA\\VN  DESPLUALVDOS    (There  they  go, 

all  plucked) 


XII.  LOS  CAPRICHOS,  26.    YA  TIENEN  ASIENTO  (At  last  they  have 
found  a  place) 


e  -■   c  n    t         -  c 


XIII.  LOS  CArRICHOS,  28.    CHITON  !  (Mum's  tlic  word  !) 


«      n       e    I' 


f    c     •. 


XIV.  LOS  CAPRICHOS,  29.    ESTO   SI  QUE  ES  LEER  (That's  what 
one  calls  reading) 


XV.  LOS   PROVERBIOS,    30.     PORQUE   ESCONDERLOS  f    (Why  tiy 
to  hide  them  ?) 


XVI.  LOS  CAPRICHOS,  32.    FOR  QUE  FUE  SENSIBLE  (Because  she 
was  sensitive) 


XVII.  LOS  CAPRICHOS,  38.    BRABISIMO  !  (Bravo!) 


G.  3 


«  o  c  ?  o  *  o,  J ,    '  *^  i:     *   «>t        ' 

c   «>   «   ,    c"     S     '    '    •.«,  !    ?  «     «  =  •     .      / 


c-         c    c 


XVIII.  LOS   CAPRICHOS,   41.     NI   MAS   NI   MENOS   (Neither  more 
nor  less) 


XIX.  LOS    CAPRICHOS,    53.     QUE   PICO    DE   ORO !    (What  golden 
oratory  !) 


XX.  LOS  CAPRICHOS,  55.    HASTA  LA  MUERTE  (Till  death) 


XXI.  LOS    CAPRICHOS,    6i.      VOLAVERUNT    (They  have  taken  to 

wing) 


o    c    c    c^  c    '-i  «„      •    *e    c 

c  "^   «  t,    c"    c  c      e       f-'         «    «•  c  c  ' 


XXII.  LOS  CAPRICHOS,  68.    LINDA  MAESTRA !   (Pretty  mistress !) 


XXIII.  LOS   CAPRICHOS,    71.     SI    AMANECE ;     NOS   VAMOS    (If 

the  day  dawns,  we  go) 


XXIV.  LOS   CAPRICHOS,    72.     NO  TE   ESCARPERAS    (You  will  not 
escape) 


c  *^       f    "e    • 


XXV.  LOS  CAPRICHOS,  79.    NADIE  NOS  HA  VISTO   (Nobody  has 
seen  us) 


G.  4 


0    6         «      ec 

c     c   r  <  c    c       t 


XXVI.  LOS   CAPRICHOS,   80.    YA  ES   HORA   (Now  It  Is  time) 


XXVII.  LA  TAUROMAQUIA.  THE  POPULACE  CUTTING  THE 
BULL'S  HAMSTRINGS  WITH  LANCES  AND  OTHER 
WEAPONS.    H.,  L.94 


XXVIII.  LA  TAUROMAQUIA.  THE  CLEVER  STUDENT  DE 
FALCES,  WRAPPED  IN  HIS  MANTLE,  PLAYS  WITH 
THE    BULL.     H.,  L.96 


XXIX.  lA/'MURDMA^QtlA.:  /<'TpE  FAMOUS  MARTINCHO 
THROWS  A  BULL  L\  THE  CIRCUS  AT  MADRID. 
H.,L.98 


t       -IOC         c 


XXX.  LA    TAUROMAQUIA.      MARTINCHO'S    AUDACIOUS    ACT 
IN  THE  CIRCUS  AT  SARiVGOSSA.    H.,  L,  loo 


XXXI.  LA  TAUROMAQUIA.  THE  AGTLTTY  AND  DARING  OF 
JUANrrO  APINANI  IN  THE  CIRCUS  AT  MADRID. 
H.,  L.  102 


• •••       •.*• 


I 


XXXII.  LA  TAUROMAQUIA.    BURNING  DARTS.    H.,L.  113 


XXXIII.  LA  TAUROMAQUIA.  TWO  GROUPS  OF  PICADORS 
OVERTHROWN  ONE  AFTER  THE  OTHER  BY  THE 
SAME    BULL.     H.,  L.  114 


G.  5 


XXXIV.  LA  TAUROMAQUIA.     FIVE   BULLS   (PLUIE   DE  TAUR- 
EAUX).     H.,  L.  123 


XXXV.  LOS  PROVERBIOS.   PUPPETS  OF  MEN  AND  A  DEAD  ASS 
THROWN  ON  A  BLANKET  BY  SIX  WOMEN.   H.,L.  124 


XXXVI.  LOS   PROVERBIOS.     SOLDIERS   AND   THE    PHANTOM. 
H.,  L.  125 


XXXVII.  LOS  PROVERBIOS.  A  COMPANY  OF  PEOPLE,  SEATED 
ON  THE  BRANCH  OF  A  TREE,  LISTENING  TO  AN 
ORATOR.    H.,  L.  126 


XXXVIII.  LOS  PROVERBIOS.    THE  GIANT  DANCING.    H.,  L.  127 


XXXIX.  LOS    PROVERBIOS.      TWO    GROUPS    OF    PEOPLE    IN 
SACKS.    H.,L.  131 


XL.  LOS  PRO\^ERBIOS.    WOMAN   CARRIED   OFF  BY  A  FIORSE. 
H.,L.i33 


XLI.  LOS  PROVERBIOS.    THE  DANCERS.    H,L.  135 


XLll.  LOS  PROVERBIOS.    THE  FLYING  MEN.    H.,L,  136 


.'  ■> 


XLIII.  LOS  PRO\T.RBIOS.    A  CIRCUS  QUEEN.    H,  L.  14.3 


XLIV.  LOS    PROVERBIOS.     OTHER    LAWS    FOR   THE   PEOPLE. 
H.,  L.  I+<^ 


XLV.  LOS    DESASTRES    DE    LA    GUERR.\,    5.     Y    SON    FIERAS 

(And  they  are  Lke  wild  beasts).     H.,  L.  149 


XL VI.  LOS    DESASTRES    DE    LA    GUERRA,    7.      QUE    VALOR! 

(What  courage  !).     H.,  L.  151 


XLVII.  LOS  DESASTRES  DE  LA  GUERRA,  8.    SIEMPRE  SUCEDE 

(That  always  happens).     H.,  L.  152 


XLVIII.  LOS  DESASTRES  DE  LA  GUERRA,   lo.    TAMPOCO  (Nor 
thus).    H.,  L.  154 


r 


.•  ^s*  ,».t" 


XTJX.  I-OS    DESASTRES    DE   LA   GLTERRA,    19.     YA   NON   HAY 
TEMPO  (No  time  now).    H.,  L.  163 


G.  7 


L.  LOS    DESASTRES    DE    LA    GUERRA,    50.     MADRE    INFELIZ 
(Unhappy  mother).     H.,  L.  194 


c    c  e.  e  c  c- 


LI.  LOS  DESASTRES  DE  LA  GUERRA,  59.    DE  QUE  SIRVE  UNA 
TAZA  ?    (Wliat  good  a  single  cup  ?).    H.,  L.  203 


LIT.  LOS  DESASTRES  DE  LA  GUERRA,  71.    CONTRA  EL  BIEN 
GENERAL    (Against  the  public  good).    H.,  L.  215 


LIII.  LOS  DESASTRES  BE  LA  GUERRA,  7.    QUE  SE  ROMPE  LA 
CUERDA   (The  rope  breaks).    H.,  L.  221 


LIV.  BLIND  MAN  LIFTED  ON  THE  HORNS  OF  A  BULL.    H.231. 
L.  247 


c  t  »  c 


LV.  THE  BLIND  STREET  MUSIQAN.    H.  232.    L.  248 


LVI.  THE    COLUSSUS.    SCRAPED    AQUATINT.    H.  233.    L.  249 


0fa   c 


LVII.  MAN  ON  A  SWING.    H.  234.    L.  250 


G.   8 


LVIII.  LANDSCAPE     WITH     A     WATERFALL.    H.  24+.    L.  260. 
MADRID 


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LIX.  LAS  MENINAS  (VELAZQUEZ  PATNTLNG  THE  PORTRAIT 
OF  THE  INFANTA  MARGARETA  MARIA),  AFTER 
VELAZQUEZ.    H.  255.    L.  236 


LX.  THE     INFANT     DON     FERNANDO,     AFTER     VELAZQUEZ. 
H.257.    L.238 


LXI.  BARBAROSSA,     COURT     FOOL     TO     PHILIP     IV,     AFTER 
VELAZQIT.Z.    IL    260.     J>.    241 


LXII.  THE  READING.    LITHOGRAPH.    H.  270.    L.  267 


LXIII.  THE  FAMOUS  AMERICAN,  MARIANO  CEBALLOS.  LITHO- 
GRAPH.   H.  277.    L.  272 


LXIV.  BULL-FIGHT    WITH    DIVIDED    ARENA.    LITHOGRAPH. 

H.  280.    L.  275 


PRINTED  AT  THE  BALLANTYNE  PRESS  LONDON 


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